13 ideas
| 19336 | Wisdom involves the desire to achieve perfection [Leibniz] |
| Full Idea: The wiser one is, the more one is determined to do that which is most perfect. | |
| From: Gottfried Leibniz (On the Ultimate Origination of Things [1697], p.151) | |
| A reaction: Debatable. 'Perfectionism' is a well-known vice in many areas of life. Life is short, and the demands on us are many. Skilled shortcuts and compromises are one hallmark of genius, and presumably also of wisdom. |
| 7696 | Leibniz first asked 'why is there something rather than nothing?' [Leibniz, by Jacquette] |
| Full Idea: The historical honour of having first raised the question "Why is there something rather than nothing?" belongs to Leibniz. | |
| From: report of Gottfried Leibniz (On the Ultimate Origination of Things [1697]) by Dale Jacquette - Ontology Ch.3 | |
| A reaction: I presume that people before Leibniz may well have had the thought, but not bothered to even articulate it, because there seemed nothing to say by way of answer, other than some reference to the inscrutable will of God. |
| 19341 | There must be a straining towards existence in the essence of all possible things [Leibniz] |
| Full Idea: Since something rather than nothing exists, there is a certain urge for existence, or (so to speak) a straining toward existence in possible things or in possibility or essence itself; in a word, essence in and of itself strives for existence. | |
| From: Gottfried Leibniz (On the Ultimate Origination of Things [1697], p.150) | |
| A reaction: Thus 'essence precedes existence'. Not sure I understand this, but at least it places an active power at the root of everything (though Leibniz probably sees that as divine). The Big Bang triggered by a 'quantum fluctuation'? |
| 19428 | Because something does exist, there must be a drive in possible things towards existence [Leibniz] |
| Full Idea: From the very fact that something exists rather than nothing, we recognise that there is in possible things, that is, in the very possibility or essence, a certain exigent need of existence, and, so to speak, some claim to existence. | |
| From: Gottfried Leibniz (On the Ultimate Origination of Things [1697], p.347) | |
| A reaction: I love the fact that Leibniz tried to explain why there is something rather than nothing. Bede Rundle and Dale Jacquette are similar heroes. As Leibniz tells us, contradictions have no claim to existence, but non-contradictions do. |
| 5047 | The world is physically necessary, as its contrary would imply imperfection or moral absurdity [Leibniz] |
| Full Idea: Although the world is not metaphysically necessary, such that its contrary would imply a contradiction or logical absurdity, it is necessary physically, that is, determined in such a way that its contrary would imply imperfection or moral absurdity. | |
| From: Gottfried Leibniz (On the Ultimate Origination of Things [1697], p.139) | |
| A reaction: How does Leibniz know things like this? The distinction between 'metaphysical' necessity and 'natural' (what he calls 'physical') necessity is a key idea. But natural necessity is controversial. See 'Essentialism'. |
| 19343 | We follow the practical rule which always seeks maximum effect for minimum cost [Leibniz] |
| Full Idea: In practical affairs one always follows the decision rule in accordance with which one ought to seek the maximum or the minimum: namely, one prefers the maximum effect at the minimum cost, so to speak. | |
| From: Gottfried Leibniz (On the Ultimate Origination of Things [1697], p.150) | |
| A reaction: Animals probably do that too, and even water sort of obeys the rule when it runs downhill. |
| 22709 | We should first decide what are the great works of art, with aesthetic theory following from that [Murdoch] |
| Full Idea: Our aesthetic must stand to be judged by great works of art which we know to be such independently. …So let us start by saying that Shakespeare is the greatest of all artists, and let our aesthetic be the philosophical justification of this judgement. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.205) | |
| A reaction: She offers this view in specific contradiction of Tolstoy, which says we should first have a theory, and then judge accordingly. I take Murdoch to be entirely right, but it means that our aesthetic theory will shift over time. |
| 22715 | Great art proves the absurdity of art for art's sake [Murdoch] |
| Full Idea: The work of the great artists shows up 'art-for-art's-sake' as a flimsy frivolous doctrine. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: She keeps referring to tragedy (as the greatest art), but it is hard to see how we learn love and morality from a great pot or a great abstract painting. Wilde makes the doctrine frivolous, but I think it contains a degree of truth. Music. |
| 22714 | Because art is love, it improves us morally [Murdoch] |
| Full Idea: It is of course a fact that if art is love then art improves us morally, but this is, as it were, accidental. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.218) | |
| A reaction: Is an enhancement of one's love necessarily a moral improvement? Love is a fine feeling, but how does it motivate? Has no wickedness ever been perpetrated in the name of love? 'All's fair in love and war'. |
| 22712 | Art and morals are essentially the same, and are both identical with love [Murdoch] |
| Full Idea: Art and morals are (with certain provisos) one. Their essence is the same. The essence of both of them is love. Love is the perception of individuals. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: The idea that art, morals and love are all just a single thing seems unhelpful. What about satire? What about duty without love? What about pure abstract painting? What about Stravinsky's highly formal view of his music? |
| 7667 | There are two sides to men - the pleasantly social, and the violent and creative [Diderot, by Berlin] |
| Full Idea: Diderot is among the first to preach that there are two men: the artificial man, who belongs in society and seeks to please, and the violent, bold, criminal instinct of a man who wishes to break out (and, if controlled, is responsible for works of genius. | |
| From: report of Denis Diderot (works [1769], Ch.3) by Isaiah Berlin - The Roots of Romanticism | |
| A reaction: This has an obvious ancestor in Plato's picture (esp. in 'Phaedrus') of the two conflicting sides to the psuché, which seem to be reason and emotion. In Diderot, though, the suppressed man has virtues, which Plato would deny. |
| 22713 | Love is realising something other than oneself is real [Murdoch] |
| Full Idea: Love is the extremely difficult realisation that something other than oneself is real. | |
| From: Iris Murdoch (The Sublime and the Good [1959], p.215) | |
| A reaction: I suspect that this is a necessary condition for love, but not the thing itself. The realisation she describes may not be love. You would attain her realisation if you shared a prison cell with a terrifying psychopath. |
| 19429 | The principle of determination in things obtains the greatest effect with the least effort [Leibniz] |
| Full Idea: There is always in things a principle of determination which is based on consideration of maximum and minimum, such that the greatest effect is obtained with the least, so to speak, expenditure. | |
| From: Gottfried Leibniz (On the Ultimate Origination of Things [1697], p.347) | |
| A reaction: This is obvious in human endeavours. Leibniz applied it to physics, producing a principle that shortest paths are always employed. It has a different formal name in modern physics, I think. He says if you make an unrestricted triangle, it is equilateral. |